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Envision: The Michigan Artist Initiative

When

November 12, 2021 – January 22, 2022

Where

In-person Event

Stamps Gallery
201 South Division Street
Ann Arbor, Michigan 48104
Google Map/Directions
Hours/Access

Details

Exhibition
Open to the public
Free of charge
Watch Video

Exhibition: Nov 12, 2021 — January 22, 2022
Public Opening and Award Ceremony: November 12, 2021

Organized by Stamps Gallery, Envision: The Michigan Artist Initiative is a new awards program designed to support the development of contemporary artists living and working in Michigan. This inaugural program recognizes the creativity, rigor, and innovation of Michigan-based artists and collaboratives — and honors their role in inspiring the next generations of artists in our state.

The call for work went out to artists across the state in March 2020. In July 2020, Envision jurors Carla Acevedo-Yates, Curator, MCA Chicago; Ken Aptekar (BFA ’73), Artist; and Loring Randolph (BFA ’04), Director, Frieze New York; gathered virtually to review the submissions.

After evaluating 259 submissions from across the state, the jurors selected five finalists to receive a group exhibition at Stamps Gallery.

On December 10, 2021, one finalist will be named the 2021 Envision Award recipient, receiving a cash prize.

The exhibition will tour to different venues in Michigan, including the Crooked Tree Art Center in Traverse City.

Envision Finalists

Nayda Collazo-Llorens examines the way in which we perceive and process information, dealing with concepts of navigation, memory, language, hyperconnectivity and noise through her interdisciplinary creative practice. Learn more: naydacollazollorens.com

Through oil painting, Michael Dixon explores the personal, societal, and aesthetic struggles of belonging to both “white” and “black” racial and cultural identities, yet simultaneously belonging fully to neither. Learn more: michaeldixonart.com

Carole Harris is a fiber artist who extends the boundaries of traditional quilting by exploring other forms of stitchery, irregular shapes, textiles, materials, and objects. Learn more: charris-design.com

Kylie Lockwood is an interdisciplinary artist whose work reconciles the experience of living in a female body with the history of sculpture. Learn more: kylielockwood.com

Darryl Terrell explores the displacement of black and brown people, femme identity, and strength, the black family structure, sexuality, gender, safe spaces, and personal stories through photography and digital art. Learn more: darryldterrell.com

This program is supported by The Andy Warhol Foundation for the Visual Arts and the Michigan Council for Arts and Cultural Affairs (MCACA).

Related Events

Envision Opening Reception - November 12, 2021
Envision: Exhibition Tour - November 20, 2021
Envision Conversations: Darryl DeAngelo Terrell - December 7, 2021
Envision Conversations: Michael Dixon - December 8, 2021
Envision Conversations: Kylie Lockwood - January 11, 2022
Envision Conversations: Carole Harris - January 12, 2022
Envision Virtual Closing Reception & Ceremony - January 13, 2022
Envision Conversations: Nayda Collazo-Llorens - January 19, 2022

Gallery

Envision: The Michigan Artist Intiative: Entrance Wall

This image is taken from the inside of the opened gator jaw sculpture looking into the gallery beyond. The gator's teeth and jaw fill up most of the frame, but you can see three of Michael's painting in the distance beyond. One painting is a self portrait of Michael as a young boy, one is a depiction of young Michael with a gator over his head looking like he is going to eat Michael, and one painting is of him, his sibling, and his parent leaning up against a car.

Michael Dixon: Picaninny 1976: Exhibition Installation view (through the gator's mouth)

This is an exhibition view of three of Michael's paintings. There is a white bench in the center of the space. The painting on the left wall is of a young Michael looking into a pond where an alligator is looking like he is trying to eat him. The back wall there is a self portrait of young Michael wearing a blue t-shirt. On the right wall there is the same painting of Michael as a small child with a cartoon gator over his head looking like he is about to eat him.

Michael Dixon: Picaninny 1976: Exhibition Installation view

A Christmas, depicts Michael as a youth with two of his siblings. Michael is on the left with his right arm in a flex pose, and his brother is on the right with his left arm in a flex pose. Their younger sister is inbetween them and is wearing a Santa hat while holding a polar bear teddy bear. They all are looking happy as they pose in front of a decorated Christmas tree in front of a window.

Michael Dixon: A Christmas

Family Vacation looks to be a family portrait of sorts. Michael's step dad is behind teenage Michael and his mom, and his sister is in front of his mom. They are all clustered by the back of the family car and are leaning up against it. There is a silhouette of a street in the background that depicts palm trees and highways travel signs. To the left of the painting there is a cartoon gator eying up the family with a mischievious look on its face.

Michael Dixon: Family Vacation

You are facing a two walls at 90 degrees to each other. On each wall there is a large television playing contrastring videos. One tv shows the face of a young child, looking very innocent, with tears in his eyes. The other tv shows an up close clip of an alligator lurking in the water with it's snout barely exposed above the water's surface. While this is a still image, the video reels are a juxtoposition between the beauty and innocence of a young child and the predatory, savage and destructive power of alligators in a feeding frenzy.

Michael Dixon edited by Ben Reed: My Reverie

You are facing the left wall of the gallery, and there are three things in your field of vision. Michael Dixons artist statement on the wall, a front facing view of a white, oversized gator jaw that is opened wide with toys inside, and to the right there is a painting on the wall of Michael and his siblings.

Michael Dixon: Picaninny 1976: Exhibition Installation view

You are standing in the gallery space and looking towards the back of the gallery. The walls are painted black and there are multiple artworks hanging in the space. On the left wall there are six pictures of Darryl. On the right wall, there is an image of Darryl's hand with jewelry being projected onto the wall, and further down there is a quote that was enlarged and placed on the wall as well. At the end of the space, on the far wall, there are two portraits of Darryl in gold frames.

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View

This image shows Darryl's artist statement, which is to the right of an entryway leading out to a foyer. In the foyer there is a television and a set of chairs to watch artist biographies. To the left of the entryway door you see the projection of Michael's jeweled hand resting on a fur backdrop.

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View

This exhibition view of the gallery is facing back toward the front of the space. The walls are black. Darryl's six self portraits of his backside are on the wall to the right. To the left of the image there is a white bench to view a video that is being projected onto the wall that depicts Darryl getting ready in his changing room. In the middle of the image, you see an opening which leads to Michael's work, and you can see one TV streaming alligators hanging on the wall in the distance.

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View

You are looking at the six portraits of Darryl from behind. Each image shows a nude Darryl with long black hair leaning forward, facing away from the camera. The images are cropped just below the buttocks, with that being the main focus of each image. In the first image, Darryl is not wearing anything additional. In the second image, Darryl is wearing a black and white sports braw. In the third image, Darryl is wearing a white corset that is laced up, with the strings falling down over their buttocks. In the fourth image, Darryl is wearing a white t-shirt. In the fifth image, Darryl is only wearing three large pearl necklaces that drape over their backside. In the sixth image, Darryl is not wearing anything, and there is a reflection from the artist statement that is showing over this image.

Darryl DeAngelo Terrell: I mean...it's just the small of my back.....ain't that all you wanted to see anyways?

In this frame you are looking at two of Darryl's portraits hanging on a black wall. The portrait on the right is a frontal shot of Darryl in a gold, sparkly gown. They have one hand held up and are gazing toward that hand. They are standing in front of a sparkling, gold backdrop. The image to the left is a zoomed out shot of capturing that image. You see Darryl standing in front of the golden backdrop on a grass field at night. There is a cameraman at the bottom center of the image taking the shot, and there are two individuals holding lighting. One is to the left of the image, and one is to the right, inbetween the light stands.

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View

This is a close-up image of one of Darryl's self portraits from behind. A reflection of a message written on one of the walls is captured over top of their image. The message is backwards because of the reflection, and it is in focus while the portrait of Darryl wearing a sports bra is blurry.

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View

This is an exhibition view of Kylie's artist statement as well as two of her artworks. You see two white walls. On one is the artist statement lit by a ceiling mounted light. In the center of the frame there is a large sculpture that resembles an anvile made of slabs of clay sitting on a white platform. There is a cavity created in teh middle of the piece that is the shape of a pregnant torso. Beyond the sculpture there is a pietà (sculpture of a head) hanging on the wall.

Kylie Lockwood: Facsimile: Exhibition Installation View

This is a close-up image of Kylie's large clay sculpture. The white base the sculpture is sitting on takes up the bottom third of the image. You can see the detail of the piece, with it's shape being created by large slabs of clay layered on top of each other. It sits on a smooth clay base, but the rest of the shape has an intentional roughness to it. The texture appears like jagged stones layered upon one another. In the center is the cavity created by Kylie's pregnant torso, which is smooth, in contrast to the roughness around it. The sculpture is in focus, and through the cavity in the middle, you see the pietà in the background blurred out of focus.

Kylie Lockwood: Abbreviated Pietà

This image is of the Pietà placed on a white wall. The pietà is a mixture of resin and carrara marble, and it is a sandstone color that depicts the Head of the Virgin. The face is gazing down toward the floor, glancing to the right, and she has a head covering draping over her loosely.

Kylie Lockwood: Head of the Pietà

For this view of Kylie's exhibit, we see her work from a different angle. To the left of the image we see Kylie's artist statement, in the center is her large clay sculpture on a white display platform, and on the right we see the pietà hanging on the wall by itself.

Kylie Lockwood: Facsimile: Exhibition Installation View

This exhibition view shows a partial view of Carole's work. There is a white bench in the center of the room. You see two of Carole's artworks on the wall to the left, and one artwork on the wall to the right. On the center wall you see Carole's artist statement, one artwork, and a large black panel wall that has images and fabric scraps hung on it to mimic Carole's studio environment.

Carole Harris: Marked by Time: Exhibition Installation View

Time and again is a textile artwork in made from several layers of different colored fabrics. You see a base layer that is mainly black, followed by a yellowish orange layer, with pink and red on the top being the dominant colors of the piece. There are little accents fabric pieces added on top that give the effect of a cloud or a mist or a firework sparkle. the imagination runs wild in this piece as you notice different elements. It almost appears as a small waterfall on the left has created a small pool in the center, and the mist shoots up from that source.

Carole Harris: Time and Again

You see three textile artworks hanging on a white center wall. The first piece is framed in a white frame, and is multiple pieces of fabric layered and stitched together. The final piece has a salmon colored hue with more vibrant reds and purples on the outside edges from the pieces underneath. The middle artwork resembles a rectangle flat bread pizza. The outer edge (or crust, if you will) is a yellow and orange mixture of fabrics, while the inner rectangle is a light red and pink layer of fabric with little fabrics pieces sewn on top. Please not, it may not be intended as a rectangle pizza, but that is how I would describe it. the piece to the far right is the largest of the three, and is a layered textile artwork. There are reds, light grays, dark grays, light greens, and teal blues represented here. The darker colors form the background with light gray and light red getting the majority of space.

Carole Harris: Marked by Time: Exhibition Installation View

You are looking at a white gallery wall that has five tapestry artworks on display. There is a white bench in the middle of the image to allow for easy viewing. To the far left, there is a large black and red tapestry in the shape of a square. The next piece is asymmetrical, with large jagged edges made from black, blue, purple, gray, and white blocks of fabric. The middle piece is a square with a diagonal running from top middle to bottom right. It is solid black to the right of that diagonal, and to the left it is a chaotic pattern of red, white, gray, and black strips and shapes sewn together. The fourth piece is a rich textured artwork with warm oranges, creams, and vibrant blues. It has the appearance of a treasure map with uneven edges and organic lines. The final piece on this wall is a rectangle of overlapping fabrics. It has a mixture of yellows, burnt reds, and grays in different shapes and sizes.

Carole Harris: Marked by Time: Exhibition Installation View

The Long Walk is multiple fabrics sewn together. It is mainly a rectangle, but there is a large red strip that hangs down to the bottom right. When you look at it, you feel like it is layered in such a way as to take you on a journey. the back layers are a combination of different purples that have tight lines sewn to mimic topography lines. The middle layers are made with rich orange, yellow and slightly brown fabrics. The top layer is made of a creamy fabric that has burn holes in it at various places. There is stitching on the fabric to resembles a path taken as it winds across the surface of the fabric.

Carole Harris: The Long Walk

This exhibition view takes into account three walls of Carole's show. You see three artworks hanging on the left wall, and a narrow view of the five artworks hanging on the right wall. On the far, center wall, you see Carole's artist statement, one of her artworks, and a depiction of what her studio looks like. That depiction includes several pieces of fabric layered on a black panel wall. Additionally, there is a white bench in the middle of the space.

Carole Harris: Marked by Time: Exhibition Installation View

There is a large screen with a projection of a digital animation of chaos on the left and Nayda's artist statement on a black wall to the right. The digital animation has various shapes of different colors all being smushed together and interacting with one another.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

You can see all three screens from where you are standing in this image. Each of the large screens hanging from the ceiling are at angles to each other that forms a loosely enclosed space in the shape of a broken triangle. Colorful shards are being projected onto the screens in a continuous loop, almost as if a whirlwind is moving the broken shards across the screens.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

You can see all three screens from where you are standing in this image. Each of the large screens hanging from the ceiling are at angles to each other that forms a loosely enclosed space in the shape of a broken triangle. Colorful shards are being projected onto the screens in a continuous loop, almost as if a whirlwind is moving the broken shards across the screens. This is similar to the previous image except that the shards have grown in size and are filling up more of the screen area. Imagine the shards being a pile of dead leaves being collected before moving across to the different screens.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

In this image, you can still see each of the three screens, but you barely see the right screen. Now we are looking toward the back of the installation. The projections on the screens look like a colorful chess board made of reds and greens that has been shot through the center and is beginning to explode out to the edges of the screen. This is simultaneously projected on each of the screens.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

This image is a continuation of the image before. Shot from a similar angle, you see that the exploded chess board has continued to shatter and the pieces have now expanded. There are muted greens, blues, purples, yellows contrasted with bright red shapes that have started to fill up the space. It feels as if chaos is expanding and growing and starting to swirl the pieces into an unrecognizable mass.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

You are still looking at the screens from the same perspective as the previous images, where you can see the left two of the triangle clearly and just a sliver of the screen to your right. However, this time the image is much different. The majority of the projection is a dull grayish, cream color. At the top corner of the screen there is an orangish, red shape that would appear to be either pouring out or sucking up a sliver or stream of chaos. In this sliver, which takes up about a fifth of the screen, you see shards of colors that would resemble broken glass, but all contained within the space created by the sliver.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

You see only one screen hanging from the ceiling, paired with Nayda's artist statement on a black wall to the right. On the screen their is a muted purple ring filling up the top left of the projection, while a diagonal shape runs from the bottom left to the upper right of the corner. In this diagonal space there is a mashup of different shards and colorful shapes that are interacting chaotically together. Outside the diagonal, you sense order and smoothness, while inside the shape there is chaos and confusion.

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View

1/31

Envision: The Michigan Artist Intiative: Entrance Wall
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Envision: The Michigan Artist Intiative: Entrance Wall
- Link to work »
2/31

Michael Dixon: Picaninny 1976: Exhibition Installation view (through the gator's mouth)
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Michael Dixon: Picaninny 1976: Exhibition Installation view (through the gator's mouth)
- Link to work »
3/31

Michael Dixon: Picaninny 1976: Exhibition Installation view
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Michael Dixon: Picaninny 1976: Exhibition Installation view
- Link to work »
4/31

Michael Dixon: A Christmas
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Michael Dixon: A Christmas
- Link to work »
5/31

Michael Dixon: Family Vacation
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Michael Dixon: Family Vacation
- Link to work »
6/31

Michael Dixon edited by Ben Reed: My Reverie
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Michael Dixon edited by Ben Reed: My Reverie
- Link to work »
7/31

Michael Dixon: Picaninny 1976: Exhibition Installation view
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Michael Dixon: Picaninny 1976: Exhibition Installation view
- Link to work »
8/31

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
- Link to work »
9/31

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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10/31

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
- Link to work »
11/31

Darryl DeAngelo Terrell: I mean...it's just the small of my back.....ain't that all you wanted to see anyways?
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Darryl DeAngelo Terrell: I mean...it's just the small of my back.....ain't that all you wanted to see anyways?
- Link to work »
12/31

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
- Link to work »
13/31

Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
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Darryl DeAngelo Terrell: I Owe you Nothing, This is for Me: Exhibition Installation View
- Link to work »
14/31

Kylie Lockwood: Facsimile: Exhibition Installation View
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Kylie Lockwood: Facsimile: Exhibition Installation View
- Link to work »
15/31

Kylie Lockwood: Abbreviated Pietà
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Kylie Lockwood: Abbreviated Pietà
- Link to work »
16/31

Kylie Lockwood: Head of the Pietà
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Kylie Lockwood: Head of the Pietà
- Link to work »
17/31

Kylie Lockwood: Facsimile: Exhibition Installation View
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Kylie Lockwood: Facsimile: Exhibition Installation View
- Link to work »
18/31

Carole Harris: Marked by Time: Exhibition Installation View
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Carole Harris: Marked by Time: Exhibition Installation View
- Link to work »
19/31

Carole Harris: Time and Again
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Carole Harris: Time and Again
- Link to work »
20/31

Carole Harris: Marked by Time: Exhibition Installation View
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Carole Harris: Marked by Time: Exhibition Installation View
- Link to work »
21/31

Carole Harris: Marked by Time: Exhibition Installation View
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Carole Harris: Marked by Time: Exhibition Installation View
- Link to work »
22/31

Carole Harris: The Long Walk
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Carole Harris: The Long Walk
- Link to work »
23/31

Carole Harris: Marked by Time: Exhibition Installation View
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Carole Harris: Marked by Time: Exhibition Installation View
- Link to work »
24/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
- Link to work »
25/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
- Link to work »
26/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
- Link to work »
27/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
- Link to work »
28/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
- Link to work »
29/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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30/31

Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Nayda Collazo-Llorens: Rupturing: Exhibition Installation View
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Media

Links/Resources

Stamps Gallery

201 South Division Street
Ann Arbor, Michigan 48104
Google Map/Directions

Hours

Sunday: Closed
Monday: Closed
Tuesday: Closed
Wednesday: 11:00 am – 5:00 pm
Thursday: 11:00 am – 7:00 pm
Friday: 11:00 am – 5:00 pm
Saturday: 11:00 am – 5:00 pm

Stamps Gallery will be closed for exhibition changes and holiday observance until January 16, 2025.